Build 14 released: higher bitrate, 3K

[Alexander Nikishin]

3K sounds interesting.
For those of us coming from 35mm still photogrpahy, this is a 2X crop factor, meaning a 50mm would become a 100mm equivalent.

1.33 crop factor....

50mm should be the S35 equivalent of a 66.5mm lens in 3K windowed.

Basically, the FOV on the RED 18-50 in 3K windowed should be 24-66mm.

 

[Steven-Marc C.]

1.33 crop factor....

50mm should be the S35 equivalent of a 66.5mm lens.

Yes, but re-read my message. I mean in relationship to 35mm still photography (24x36mm frame size). Since a lot of us are used to still lenses field of view, I thought it was interesting to point it out.

 

[Alexander Nikishin]

Yes, but re-read my message. I mean in relationship to 35mm still photography (24x36mm frame size). Since a lot of us are used to still lenses field of view, I thought it was interesting to point it out.

Ah gotcha, sorry it's late. :mellow:

 

[Radoslav Karapetkov]

My God, by the time I get this camera it'll probably be able to fly me up to Mars!

[it's been awhile since I met with my folks.]

 

[Steven-Marc C.]

Yes and it's even better for us European users since we can now do 3K at 50fps to CF. Fantastic for action and sports !

 

[Alexander Christ]

Yes, but re-read my message. I mean in relationship to 35mm still photography (24x36mm frame size). Since a lot of us are used to still lenses field of view, I thought it was interesting to point it out.

If my math is right:

35mm still: 36x24mm, 1.0x
RED 4K: 22.2x12.6mm, 1.62x
RED 3K: 16.65x9.36mm, 2.16x
RED 2K: 11.1x6.24mm, 3.24x

 

[Jim McKinney]

Important stuff to know because I was alittle worried that the Circle of Confusion was gonna be all out of wack because some of us (ACs) have to think about that.:help: So should I think of 3k as a 21mm sensor equivilant! So when the DP asks for a 65mm up I put on a 50mm? Am I correct?

REDCODE 36 is awesome!

Make sure you're on the same page as your d.p. Is your d.p. still "thinking in 4K" or has he already made the 3K conversion in his head and is correct that he really does want the 65mm up at that moment? Ask him or remind him in a way that's clear and confirms his intent.

Reminds me of the job where we were shooting back and forth all day between 180 and 45 degree shutter angles. At the end of the day, my AC says: "oh, I thought you meant 144 degrees!" :angry2:

At least if you put the "wrong" lens up, the d.p. should be able to figure that out pretty quickly.

 

[Paris Remillard]

Did some night shooting downtown last week (Los Angeles downtown).

On some shots we had a vertical smear - big spikes going straight up and down off the headlights. We were shooting with MKIII Super Speeds, but I don't think it was the lens.

Anybody else get that?

Poi Boy posted some footage (beautiful footage, at that) that had just a touch of the "highlight streaks" as well, just so you guys are aware that it is still rearing up it's head every now and then. This is a small black line, though, so on further thought, it may not be what you were seeing.

http://www.redrelay.net/owners/0086/films/xmas.mov

It's near the end.

 

[McDiver]

Just to be clear, is the RedCode 36 able to reduce compression from 10:1 to 6.7:1? That is hugely significant.

And, as storage media transfer speeds up, and capacity goes up, will RedCode be able to reduce compression further or speed up framerates? I know some of the SSDs can handle over 80 MB/sec (STEC comes to mind).

I now see why they called the company "Red."
It was built to live on the "bleeding edge!"

Great job, guys.

 

[Gavin Greenwalt]

thanks guys for the feedback.. your testing helps us track down the bugs in the beta.

Careful Jarred you don't get to call it beta anymore. Remember?

I tease I tease.

 

[Dane Brehm]

"So when the DP asks for a 65mm up I put on a 50mm?"

IMO when a DP asked for a 65mm - you give them a 65mm ... DP should be up to date = that's why they make the BIG $$,$$$ and AC's make $$$

$10,000 a day right or was it a week? I agree but not all DP's are created equal some lean on there AC's to "know what they mean" and execute. I've been in that situation way to many times when a Film DP asks for a 50mm and were shooting on HD....:ranting2:

I must be prepared for all especially if were switching between 4k and 3k or 2k.....

 

[Ben Cole]

Looks like build 14 has hit the support website.

Temporary removal of +48V Phantom Power mode?! How long will this be? and will it be cured with a software update?:w00t:

 

[Brent Carter]

This is new... we'll get on it pronto.

I assume that a good slap upside the head didn't work?

Jim

New version of Build 14 (v2.0.3) has been posted on RED.com/support. The issue with the reported LCD whine has been addressed.

Thanks, BC

 

[Greg M]

does this only fix the monitor issue? Or does it also address the noise issue?

 

[Brent Carter]

The reported increased LCD whine issue is the only new update within the revised Build 14 BETA. We heard your feedback and we acted quickly to address....

BC

 

[Jason Wingrove]

you guys really are amazing. There is NO companyi known that involves its customers and reacts so quickly to their feedback
j

 

[Rick Darge]

Thank you RED

My camera WHINES no more!!

 

[Stephen Williams]

So when the DP asks for a 65mm up I put on a 50mm? Am I correct?

REDCODE 36 is awesome!

Hi,

If I ask for a 65mm I want a 65mm lens on the camera, end of story.

Stephen

 

[Greg M]

I dont think he was being literal...it was an example.

 

[Häakon]

Hi,

If I ask for a 65mm I want a 65mm lens on the camera, end of story.

Stephen

Hi Stephen,

You'll still get a 65mm lens, but in 3K, it's not going to give you the same FOV as in 4K. So I think the question people are brining up is really do you want 65mm FOV (relative to 4K) or not? People used to the way a 65mm lens looks on a super35 area are not going to get the same result shooting windowed. So the question is, are you sure you really want a 65mm lens for that shot?

Best,

Häakon